Panel Paintings

Summer II is a unique painting by contemporary artist Yiching Chen. The painting is made with mineral pigments and gold leaves on Japanese paper mounted on wood, dimensions are 50 × ...

By the Waterside III is a unique oil on canvas painting by contemporary artist Valérie de Sarrieu, dimensions are 50 × 50 cm (19.7 × 19.7 in). It is part of the “Silhouettes” series....

Rick Beerhorst Looking Through Love oil on canvas 13h x 13w in 33.02h x 33.02w cm RIB008 Rick Beerhorst B. 1960 Education 1987 University of Illino...

This painting measures 45 X 45 cm and is painted on stretched linen. The cat and the bird, typically mortal enemies are held together by this noble woman. This becomes a metaphor for how opposed aspects of our inner nature coexist and add dimension and richness to our personalities. –Rick Beerhorst...

Blast is a unique painting by contemporary artist Yiching Chen. The painting is made with mineral pigments on Japanese paper mounted on wood, dimensions are 85 × 110 cm (33.5 × 43.3 ...

Marinas No. 3 is a unique oil on wood painting by contemporary artist Calo Carratalá, dimensions are 22 × 35 cm (8.7 × 13.8 in). The artwork is signed, sold unframed and comes with ...

François Bonvin French 1817–1887 Pair titled 'Le plat rempli de fruits' and 'Le Pot d'étain' Pristine condition Signed and dated F. Bonvin 1866 and F. Bonvin Bruges 1866 Provenance:...

A beautiful mid 17th century Flemish Old Master oil on panel depicting figures in a tavern interior by Anthonie Victoryns. Excellent quality early F...

Willem van Nieulandt the Younger, the son of Adriaen van Nieulandt the elder, was born to a family of artists from Antwerp. They moved to Amsterdam in 1589, after the Siege of Antwer...

Blue Marsh I is a unique painting by French contemporary artist Frédérique Domergue. This painting is made with oxidized zinc and bronze leaves on aluminium panel, patina fixed with ...

Rick Beerhorst Venetian Venus oil on canvas 23.50h x 23.50w in 59.69h x 59.69w cm RIB006 Rick Beerhorst B. 1960 Education 1987 University of Illinois...

Flax Field is a unique painting by contemporary artist Yiching Chen. The painting is made with mineral pigments on Japanese paper mounted on wood, dimensions are 41 cm x 33 cm (16.1 ...

Turbulences is a unique painting by French contemporary artist Frédérique Domergue. This painting is made with oxidized zinc and bronze leaves on aluminium panel, patina fixed with b...

The Emerald Archipelago is a unique painting by French contemporary artist Frédérique Domergue. This painting is made with oxidized bronze leaves on aluminium panel, patina fixed wit...

Snow of May II (2016) is a painting by contemporary Taiwanese artist Yiching Chen. Mineral pigments and silver leaves on japanese paper mounted on wood. 50 cm × 70 cm. Sold unframed...

The Drunk" is an oil on panel painting created by Dutch school student. This artwork provides viewers with a captivating glimpse into the past, offering a detailed and vivid portraya...

A couple embraces, one looking directly out at the viewer. His piercing blue eyes are enhanced by the dark backdrop. A colorful moth sits upon his fingertips but he seems more enga...

Marinas No. 12, oil painting on wood panel by Spanish contemporary artist Calo Carratalá. 22 cm × 35 cm. This landscape painting takes the viewer to the coasts of Tanzania on the Ind...

Abyss is a unique painting by French contemporary artist Frédérique Domergue. This painting is made with oxidized zinc and bronze leaves on aluminum, patina fixed with beeswax, dimen...

Hope is a unique painting by contemporary artist Yiching Chen. This painting is made with earth and mineral pigments on Japanese paper mounted on wood panel. This artwork is a dipty...

Vertigo is a painting by French contemporary artist Frédérique Domergue. Oxidized zinc and bronze leaves on aluminum panel, patina fixed with beeswax polish. 100 x 100 cm // 39.37 in...

Pigments, India ink, gold leaf on panels mounted on Japanese paper. 65.2 × 100 cm. Sold unframed. Urban landscape II – Tokyo (2023) is a diptych painting by Paris-based Japanese arti...

Marinas No. 29, oil painting on wood panel by Spanish contemporary artist Calo Carratalá. 22 cm × 35 cm. This landscape painting takes the viewer to the coasts of Tanzania on the Ind...

The Event V is abstract painting reminiscent of a landscape by contemporary artist Joachim van der Vlugt. Together with a voluntarily restricted palette of colors and sombre, black a...

The painting is dated and signed on the bottom left side. Description: Alfred Jacomin was a landscape and genre painter. He was a student of his father, Jean-Marie Jacomin, the Swiss...

Marinas No. 18, oil painting on wood panel by Spanish contemporary artist Calo Carratalá. 22 cm × 35 cm. This landscape painting takes the viewer to the coasts of Tanzania on the Ind...

Vincennes forest, painting by contemporary Taiwanese artist CHEN Yiching. Mineral pigments on Japanese paper mounted on wood, 2018. 41 cm × 33 cm. This artwork is sold framed with a...

The Amour II is a painting by contemporary artist Joachim van der Vlugt. Oil on wood, 110 x 110 cm. This work is signed, sold unframed. This portrait represents a man wearing a gas ...

Plenitude II is a painting by Paris-based Taiwanese contemporary artist CHEN Yiching. As a specialist of Nihonga (traditional Japanese painting), the painter expresses all the poetr...

Ink, Japanese pigments, and golden leaves on Japanese paper mounted on wood, 38 cm × 45.5 cm. Sold framed (black shadow gap frame). Dimensions framed: 43,3 x 51 cm Square with Palac...

Untitled CIX is a large-scale painting by French contemporary artist Frédérique Domergue. Oxidized zinc and bronze leaf on wood panelling, patina fixed with beeswax polish, 180 cm × ...

Murmur (2017) is a painting by contemporary Taiwanese artist Yiching Chen. Mineral pigments on Japanese paper mounted on wood, 153 x 90 cm. Artwork sold unframed As a specialist of ...

The Night, The Moon, painting by contemporary Taiwanese artist Yiching Chen. As a specialist of Nihonga (traditional Japanese painting), the painter expresses all the poetry she fin...

Lucas Cranach the Elder and Studio 1472-1553 German Moses and the Pillar of Cloud Oil on panel Moses and the Pillar of Cloud is a bold and evocative composition that showcases the signature intense color and intricate detail of Lucas Cranach the Elder’s celebrated oeuvre. The remarkable 16th-century oil on panel by Lucas Cranach and his studio captures the narrative moment when Moses leads the Israelites out of Egypt and encounters God manifested through a large pillar of cloud. Moses stands at the precipice of a bridge and turns back to soldiers helping to lead the group of Israelites who huddle closely together. Cranach depicts Moses with his traditional iconography, rendering the rays of light on his head which came to be interpreted as "horns" in the translation of the Bible. Using his traditional walking staff, Moses gestures toward the pillar, seemingly acknowledging that God will protect the group as they cross the bridge to the other side, leaving exile and entering a promised land. In a nod to Cranach’s Germanic locale, he renders the figures and setting in a manner that feels decisively more akin to European aesthetics than those of the Red Sea. Soldiers wear elaborate, gothic suits of armor that recall the livery of Northern European guardsmen. The terrain appears more like a European forest giving way to a sweeping valley than the arid landscape the Israelites trekked through on their journey across the Red Sea. Though still clearly recounting a story from the Old Testament, Cranach renders the cast of characters and setting in an earthly, familiar manner. This aesthetic shift speaks to Cranach’s own changing beliefs as he found himself at the center of the Protestant Reformation. After first gaining recognition in 1505 as the official painter of Frederick the Wise, Cranach established a thriving painting and print studio in Wittenberg, Germany. Cranach was renowned for his court portraits and genre paintings and was also well known for his association with the famous protestant reformer Martin Luther, then under the protection of Frederick the Wise. As Wittenberg became a bastion of new religious thought, Cranach soon befriended Luther and played an active role in creating the printed materials that proliferated throughout the Reformation...

Innocence is a unique painting by contemporary artist Chen Yiching. The painting is made with mineral pigments on Japanese paper mounted on wood, dimensions are 70 × 150 cm (27.6 × 5...

GREG MILLER "Secret Cove (Diptych)" Acrylic, Collage on Panel 36 x 36 in. each 36 x 72 in. overall Drawing from the diverse cultural and geographic makeup of his Californian roots...

Set of 4 paintings from the 'Marinas' series by Spanish contemporary artist Calo Carratalá. Oil paintings on wood panel, 22 cm × 35 cm each. Dimensi...

Inspired by nature, Jessica Pisano’s interest in art began at a young age. It was the beautiful landscape of her hometown of Martha's Vineyard that served as her muse. She later purs...

This painting, inspired by Albrecht Durer's "Melancholia 1," was done during the COVID Pandemic and the last year of the Trump presidency. Hopes for the ...

A female nude dances in a private moment yet the figure in the background seems to be watching. The figure's face is obscured adding to the intrigue of the subject. Loose brushwork, thick with expressive, bold colors and strong contrast in shadows, add to the overall aesthetic. Georgia Hinaris...

Jean-Gabriel Domergue 1889-1962 French La loge Signed (bottom right) Oil on panel Jean-Gabriel Domergue presents an elegantly seductive woman seated in a l...

A model pirate ship dominates the geometric backdrop of this perplexing painting titled, "Night Crossing." Constellations painted on the tiled surface suggest the ship is headed on a journey to be guided by star-filled sky above. Notions of voyage and conquest come to mind, but the boat is moored to its wooden base, dashing any hopes for adventure. The painting is framed in a simple walnut stained wooden frame measuring 25.25 x 21.25 inches. John Hrehov Night Crossing, 2022 oil on canvas on panel 24h x 20w in 60.96h x 50.80w cm JHR009 John Hrehov Education 1985 MFA-Painting, University of Illinois at Urbana-Champaign 1981 BFA-Painting, Cleveland Institute of Art, Cleveland, OH. Solo Exhibitions 2017 John Hrehov, Paintings and Drawings. Tom Thomas Gallery, Indiana University East, Richmond, IN. 2012 Shades from White to Black, New Drawings. Denise Bibro Fine Art, New York, NY. 2011 John Hrehov: Charcoal. Indiana University - Purdue University Fort Wayne. 2009 John Hrehov: A Survey 1999-2009 Denise Bibro Fine Art, New York, NY. Paintings and Drawings. Seerveld Gallery, Trinity Christian College, Palos Heights, IL. 2004 John Hrehov: Drawings and Paintings. Denise Bibro Fine Art, New York, NY. 2002 Paintings. Denise Bibro Fine Art, New York, NY. 2001 Charcoal. Indiana University - Purdue University Fort Wayne. John Hrehov, Paintings and Drawings. Wood Street Gallery, Chicago, IL. 2000 The Picture Proper. Denise Bibro Fine Art, New York, NY. Fearful Symmetry. Fort Wayne Museum of Art, Fort Wayne, IN. Allegories in Contemporary Life. Yvonne Rapp Gallery, Louisville, KY. 1999 Paintings and Working Drawings. Adams Hall Gallery, Wheaton College, Wheaton, IL. 1998 John Hrehov. Denise Bibro Fine Art, New York, NY. John Hrehov: Paintings and Drawings. Wood Street Gallery, Chicago, IL. 1997 Object Lesson, Paintings, and Drawings by John Hrehov. Yvonne Rapp Gallery, Louisville, KY. 1995 John Hrehov. Trinity Art Gallery, Trinity Christian College, Palos Heights, IL. 1993 John Hrehov: Selected Works 1980-1992 Indiana University - Purdue University Fort Wayne. Group Exhibitions 2019 2019 Alumni Exhibition. Reinberger Gallery at The Cleveland Institute of Art, Cleveland, OH. Out Of The Closet. Denise Bibro Fine Art, New York, NY. 1026 West Berry Street: The Fort Wayne Art School. Fort Wayne Museum of Art, Fort Wayne, IN. 2018 Artlink Regional Exhibition. Artlink Contemporary Art Gallery, Fort Wayne, IN. 2017 Sola Grace-Faith-Scripture: An Exhibition of Sacred Visual Art. Good Shepherd Institute at Concordia Theological Seminary, Fort Wayne, IN. Norman Bradley...

Lamenting the lack of clear queer imagery in Renaissance painting I decided to paint a Gay version of "La Tempesta" by Giorgione. The small creature in the for...

After Athena was born fully armed from Zeus' forehead, Triton, acting as a foster parent to the goddess, raised her alongside his daughter, Pallas. The sea god taught both girls the ...

This exquisite portrait of a gentleman depicted in a sumptuous black coat edged with silver and slashed sleeves is an excellent example of the type of portrait fashionable in England and the Low Countries during the 17th century. The confident pose, striking orange sash - the colour of the house of Orange Nassau - and the leather gorget imbue the sitter with a sense of masculinity and power. The profusely decorated costume is of the highest quality and de rigueur of an elite class - the artist has carefully cultivated this portrait to emphasise the sitter’s wealth and standing in the society that he belonged to. The casual pose, with one arm resting on a hip, is much less formal than earlier decades, and it speaks of ‘sprezzatura’ – one’s appearance should not appear laborious, but instead, effortless. The oil on cradled panel portrait can be dated to circa 1650 based on the hairstyle and the attire - small falling collar, short doublet (doublets reduced in size to just below the ribcage in the late 1650’s), and the type of slashed sleeves with the sleeve seams left open to reveal the white fabric. The demand for portraits in the Netherlands was great in the 17th century. Bartholemeus van der Helst was considered to be one of the leading portrait painters of the Dutch Golden Age surpassing even Rembrandt as the most sought-after portraitist in Harlaam. The Dutch Golden Age, roughly spanning the 17th century, was a period when Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middle-class patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Still life’s of items of everyday objects, landscapes, and seascapes reflecting the naval and trade power that the Republic enjoyed were popular. The new wealthy class were keen to have their portraits commissioned and many artists worked in this lucrative field. Such was the popularity of art that everyone had a painting, even the humble butcher, and hundreds of thousands of paintings were produced. By tradition the sitter is Maarten Tromp (1598-1653) who was an Admiral in the Dutch Navy (the reverse of the portrait contains an old handwritten inscription “van Tromp”). Certainly, the distinctive orange sash is similar to those worn by officers of the Dutch army in the Netherlands who served under the Princes of Orange and the House of Nassau. However, it should be noted that the physiognomy differs from other images of Tromp. Tromp was the oldest son of Harpert Maertensz, a naval officer and captain. He joined the Dutch navy as a lieutenant in July 1622 and was later promoted from captain to Lieutenant-Admiral of Holland and West Frisia in 1637. In 1639, during the Dutch struggle for independence from Spain, Tromp defeated a large Spanish fleet bound for Flanders at the Battle of the Downs, which marked an enormous change - the end of Spanish naval power. He was killed in action during the First Anglo-Dutch War in 1653 where he commanded the Dutch fleet in the battle of Scheveningen. Gloves were an absolutely vital accessory and the elaborate pair in this portrait are embellished with threads of silk and precious metals and salmon-coloured lining. He wears only one glove and holds the other, providing an opportunity to better display the cuffs and detail on his right wrist and forearm. The gloves are probably made from the most prized leather which came from Spain, in particular from Cordova. Cordovan leather was tanned with a special vegetal process that left it both highly impermeable and divinely soft. King Charles I, posed in a rather relaxed manner for Daniel Mytens’s portrait in 1631, is wearing gloves and boots in matching Cordovan leather. The hide is thick, but you can see just how supple it is from the way the gauntlet dimples and the long boot legs fold over themselves, rippling and wrinkling at the ankles. Apart from keeping hands warm the use of gloves during the 15th through the 19th centuries were full of symbolism and they were worn regardless of the season. They kept the skin unblemished - soft, smooth hands were considered highly attractive. This combination of necessity and proximity to bare skin made gloves a deeply personal gift and they took on a strong symbolic significance and were regarded as emblematic of fidelity and loyalty for hundreds of years. Such was the importance of their symbolism was that some gloves were never intended to be worn at all. Their luxury made them ideal gifts at court, and so in the 15th and 16th centuries, ambassadors often presented them as symbols of loyalty. Until the mid-19th century, it was customary to give gloves as tokens to guests at weddings and to mourners at funerals. Gentleman often gifted their bride-to-be with a pair of gloves (the obligatory gift) and were handed over at the betrothal and put on display before the wedding took place. It was probably their direct contact with the skin that led to the eroticism of gloves. Not only were pairs often exchanged between lovers, but from the 16th to the 18th centuries, it was common practice to remove one glove and give it as a gift to a favourite. The idea of the item being presented still warm from the wearer’s hand is certainly suggestive. Following the death of King George IV, his executors purportedly found over a thousand mismatched ladies’ gloves among his possessions. The sentiment of a 17th-century poem reveals the popularity of the practice: “Come to our wedding to requite your loves / Shew us your hands and we’ll fit you with gloves.” Such generosity might be pricey for the hosts, but gloves of varying quality could be offered depending on the status of the recipient. Pairs made with the finest Spanish leather might be reserved for immediate family, while coarse sheep’s leather could be distributed among the servants and tradesmen. The apportioning of quality according to class provided a very clear message of the gloves’ intended use. For refined guests, they were decoration; for the lower classes, they were functional. Bartholomeus van der Helst...

Two figures, cast in shadows, stand in the foreground between a nude female figure in the background. Loose brushwork, thick with expressive, bold colors and strong contrast in shadows, add to the mystery of this gathering of characters. This artwork is mounted to a wood cradle and can hang directly on the wall. Please contact the gallery for framing options. Georgia Hinaris...

The artist is a master at storytelling. He sets the stage for the viewer to bring the events to a particular scene. Here, the artist has set two wine glasses, napkins and a small plate of desserts on a geometrically patterned table cloth, draping so it almost appears to be falling over the frame. The viewer is required to ask the questions about the scene but the answers may only lie in their own imagination. The painting, which is painted on canvas then mounted to a panel, is framed in a simple wooden frame measuring 21 x 30 inches. John Hrehov Dessert, 2022 oil on canvas on panel 20h x 29w in 50.80h x 73.66w cm JHR008 John Hrehov Education 1985 MFA-Painting, University of Illinois at Urbana-Champaign 1981 BFA-Painting, Cleveland Institute of Art, Cleveland, OH. Solo Exhibitions 2017 John Hrehov, Paintings and Drawings. Tom Thomas Gallery, Indiana University East, Richmond, IN. 2012 Shades from White to Black, New Drawings. Denise Bibro Fine Art, New York, NY. 2011 John Hrehov: Charcoal. Indiana University - Purdue University Fort Wayne. 2009 John Hrehov: A Survey 1999-2009 Denise Bibro Fine Art, New York, NY. Paintings and Drawings. Seerveld Gallery, Trinity Christian College, Palos Heights, IL. 2004 John Hrehov: Drawings and Paintings. Denise Bibro Fine Art, New York, NY. 2002 Paintings. Denise Bibro Fine Art, New York, NY. 2001 Charcoal. Indiana University - Purdue University Fort Wayne. John Hrehov, Paintings and Drawings. Wood Street Gallery, Chicago, IL. 2000 The Picture Proper. Denise Bibro Fine Art, New York, NY. Fearful Symmetry. Fort Wayne Museum of Art, Fort Wayne, IN. Allegories in Contemporary Life. Yvonne Rapp Gallery, Louisville, KY. 1999 Paintings and Working Drawings. Adams Hall Gallery, Wheaton College, Wheaton, IL. 1998 John Hrehov. Denise Bibro Fine Art, New York, NY. John Hrehov: Paintings and Drawings. Wood Street Gallery, Chicago, IL. 1997 Object Lesson, Paintings, and Drawings by John Hrehov. Yvonne Rapp Gallery, Louisville, KY. 1995 John Hrehov. Trinity Art Gallery, Trinity Christian College, Palos Heights, IL. 1993 John Hrehov: Selected Works 1980-1992 Indiana University - Purdue University Fort Wayne. Group Exhibitions 2019 2019 Alumni Exhibition. Reinberger Gallery at The Cleveland Institute of Art, Cleveland, OH. Out Of The Closet. Denise Bibro Fine Art, New York, NY. 1026 West Berry Street: The Fort Wayne Art School. Fort Wayne Museum of Art, Fort Wayne, IN. 2018 Artlink Regional Exhibition. Artlink Contemporary Art Gallery, Fort Wayne, IN. 2017 Sola Grace-Faith-Scripture: An Exhibition of Sacred Visual Art. Good Shepherd Institute at Concordia Theological Seminary, Fort Wayne, IN. Norman Bradley...

The fifth emperor of Rome, Nero was the last in the Julio-Claudian dynasty line of emperors following his suicide. Nero was popular with the lower-class Roman citizens during his tim...

The fragility of the environment has always played an important role in Christina Haglid's work. As a child growing up on the East Coast, the ever changing seaside landscapes intrig...

Jennifer unveils her bare breast, luring her unsuspecting rapist towards her so that she may seek her revenge. Should her morals be questioned? It makes no difference to her animal companion. This dog’s family was murdered and his response is to bite on a pair of dentures. Morality is exclusive to humanity. Nature simply carries forward. Featuring the films "I Spit on Your Grave", 1978, "High Tension", 2003 and "Angst", 1983. Georgia Hinaris I Spit on Your Angst oil on panel 28h x 56w in 71.12h x 142.24w cm GHS012 Horror films are the most profound and visceral of films, garnering the most extreme responses: vehement hatred and cultish admiration. Horror elicits a controlled neurosis while exposing the rejected weaknesses and brutalities of humanity. I embrace the power of cinema and its ability to alter perception, as it is media that is a reflection of our primordial desires. I’m fascinated by concepts involving the limits of human perception, the ambiguity of morality in relation to nature, the paradoxical nature of reality, and the human struggle to reckon with uncertainty. Humans bear the burden of being as we are, all caught in a flux of unbelievable cognitive abilities and animalistic instincts. Every painting is in its own universe and I cater to it. Nothing is precious. Chaos is embraced. Georgia Hinaris, b. 1993, Chicago, Illinois Education 2019 MFA Painting, New York Academy of Art, New York, NY 2015 BFA Painting, Pratt Institute, Brooklyn, NY Exhibitions 2020 Summer Exhibition, Flowers Gallery, New York, NY Summer Juried Exhibition, Prince Street Gallery, New York, NY 2019 Di Donna Gallery, New York, NY AXA Art Prize, San Francisco Art Institute, San Francisco, CA, Richard Gray...

A secluded path leads into a dense woods begging the viewer to ask the question - what is beyond the path? "The Walk" is a small scale landscape painted with painstaking detail. Each leaf and blade of grass a rendered in tiny brush strokes making the painting feel much larger than it is. This oil on panel painting is framed in a silver and black wooden frame measuring 20.5 x 15 inches. "Pozas" René Monzón...

A masterful example of Italian Mannerist painting, this exceptional panel was composed by the renowned Florentine painter Domenico Puligo. Alongside Jacopo Pontormo and Rosso Fiorentino, Puligo is remembered as one of the foremost figures of the Mannerist movement that rose to prominence during the 16th century in Florence. This panel of the Virgin Mary with the Christ child and Saint John the Baptist is a characteristic example of his celebrated devotional images, which grace museums such as the Metropolitan Museum of Art (New York), Museo del Prado (Madrid), Palazzo Borghese (Rome), and Palazzo Pitti (Florence), among many others. Puligo’s skill with color is fully demonstrated in the beautifully preserved work. Considering its age, the vibrancy and the sheer range of color is remarkable. The Virgin Mary’s crimson dress...

Attributed to Bonifacio Bembo c.1444-1477 Italy Saint Cosmas and Saint Damian Tempera on panel These exceptionally rare early Renaissance panels of Saint Cosmas and Saint Damian are an extraordinary new discovery. Based on the research of art historians Marco Tanzi and Andrea de Marchi, it is believed that these represent the missing panels from the famed polyptych formerly displayed on the altar of the Chapel of San Nicola da Tolentino in the Church of Sant’Agostino in Cremona, Italy. To find two matching early Renaissance panels outside of a museum or church, particularly in such remarkable condition, is an extraordinary rarity. The central and left-sided panels of the original five-part polyptych are currently in the collection of the Museo Civico Ala Ponzone in Cremona. These panels have luckily remained intact, and respectively portray the Madonna and Child Enthroned with Angels and Donor, Saint Nicholas of Tolentino (the chapel’s namesake) and Saint George. While the present panels have since been reduced, that they belong to the Cremonese altarpiece is confirmed by a number of stylistic elements. All five panels contain the same rich decorative arabesque pattern on their stamped gold background, while the figures’ knurled haloes are identical in both their fineness of line and use of perspective. The proportions of the figures coincide perfectly; Saints Cosmas and Damian would have originally also been depicted as full-length figures, fitting into the vertical, Gothic style of the altarpiece. According to the Christian religion, Saint Cosmas and Saint Damian were 3rd century physicians born in Arabia. Little is known about their lives except that they were reputedly twin brothers and that they were martyred in Syria during the persecution of Emperor Diocletian. It was believed that the saints were skilled in healing, and when their medicines failed, their faith and prayers could always perform miracles. Thus, the saints are often depicted with their medical equipment while wearing the traditional medieval doctor’s garb of crimson robes and distinctive round red hats. The saints are similarly depicted in the present panels, though considering the manner in which they have been cut, their medical tools are not immediately evident. The saints were highly popular as patrons of wealthy families during the Gothic and Renaissance eras, particularly the Medici, and thus they occur frequently in art from the era. The twins, for instance, are found in the famed San Marco Altarpiece by Fra Angelico in the San Marco Museum (Florence), as well as in a set of Medici panels crafted by Filippo Lippi...

AWARDS Second Place Award for “View of Zug,” at “Urban Edge,” Grosse Pointe Art Center, Grosse Pointe, MI Henry Billings Award for “Skyway,” at “71st National Midyear show,” Butler Institute of American Art, Youngstown, OH Juror’s Award for “Rouge River” at “Michigan Artists Competition,” 1993 Honorable Mention at “Midwest Pastel ’88” for “Schoodic Point V,” 1988. Juror’s Award from Michael Luchs for “Mind of Flight,” pastel, at “Tunnel Vision II,” Detroit, 1981. PUBLICATIONS Art Journey America Landscapes: 89 Painters’ Perspectives by Kathy Kipp. North Light Books, 2012. Paintings of Maine by Carl Little. Down East Press, 2006. “City Lights,” The Artist’s Magazine, October 2010. “Eye on the Environment,” American Arts Quarterly, Spring 2008. “Artist wins exposure, support on Internet,” Detroit Free Press, September 1, 1996. “Michigan Artists Share Ecological Concerns,” Los Angeles Loyolan, February 7, 1996. “Imaginative art makes powerful impact,” Grand Rapids Press, September 26, 1995. “Painting from Sketches, Photographs, and Memory,” American Artist, January, 1986. Cover artist. “The two art worlds of Art Chartow,” The Daily Tribune, Royal Oak, MI, June 23, 1984. SOLO EXHIBITIONS 2004 “Quiet Places,” Sherry French Gallery, New York, NY 2002 “At Water’s Edge,” Sherry French Gallery, New York, NY 1986 Rubiner Gallery, West Bloomfield, MI. MUSEUM EXHIBITIONS 2016 “80th National Midyear show,” Butler Institute of American Art, Youngstown, OH 2010 “2010 Contemporary Realism Biennial,” Fort Wayne Museum of Art, Fort Wayne, IN 2008 “72nd National Midyear show,” Butler Institute of American Art, Youngstown, OH 2007 “71st National Midyear show,” Butler Institute of American Art 2002 “Art of Collecting,” Flint Institute of Art, Flint, MI GALLERY GROUP EXHIBITIONS 2017 “Scene Change,” Gallery Victor Armendariz, Chicago, IL 2017 “Coming Attractions,” Gallery Victor Armendariz, Chicago, IL 2012 “City Streets II,” George Billis Gallery, New York, NY 2009 “Selections,” Ann Nathan Gallery, Chicago, IL 2008 “Eye on the Environment,” Sherry French Gallery 2007 “Panoramas,” Sherry French Gallery. “The Four Seasons,” Sherry French Gallery. “Poetry = Painting,” Sherry French Gallery. 2006 “The Four Seasons,” Sherry French Gallery. Gallery and Invited Artists, Sherry French Gallery. “Mainely Maine,” Sherry French Gallery. Summer invitational, Ann Nathan Gallery, Chicago, IL Featured Artist, Susan Maasch Fine Art, Bangor, ME 2005 “Mainely Maine,” Sherry French Gallery. 2004 “Poetry = Painting: ut pictura poesis,” Sherry French Gallery. 2003 “Mainely Maine,” Sherry French Gallery. “Poetry = Painting: ut pictura poesis,” Sherry French Gallery. “Flowers in February,” Sherry French Gallery. 2002 “The Four Seasons,” Sherry French Gallery. “Poetry = Painting: ut pictura poesis,” Sherry French Gallery. 2001 “Mainely Maine,” Sherry French Gallery, New York, NY. “Small Sizes, Precious Pieces,” Sherry French Gallery. “Contemporary American Landscapes: An Urban and Rural Perspective, ” M. A. Doran Gallery, Tulsa, OK 1991 “Nine Views of Landscape,” Ruth Volid Gallery, Chicago, IL. Landscape show, Rubiner Gallery 1990 “LANDscape,” Ruth Volid Gallery. 1989 “Landscape,” Rubiner Gallery. 1986 “Works on Paper,” Gallery Henoch, New York, NY. SELECTED GROUP EXHIBITIONS 2016 “Michigan Fine Arts Competition,” Birmingham Bloomfield Art Center, Birmingham, MI. 2015 “Michigan Fine Arts Competition,” Birmingham Bloomfield Art Center, Birmingham, MI. 2008 “Urban Edge,” Grosse Pointe Art Center, Grosse Pointe, MI “Michigan Fine Arts Competition,” Birmingham Bloomfield Art Center, Birmingham, MI. 2007 “Michigan Annual XXXIII,” Anton Art Center, Mt. Clemens, MI “Michigan Fine Arts Competition,” Birmingham Bloomfield Art Center. 2006 “Michigan Fine Arts Competition,” Birmingham Bloomfield Art Center. 2005 “45th Annual Greater Michigan Art Exhibition,” Alden B. Dow Museum of Science & Art, Midland, MI. 2002 “Land and Water,” Lobby of 717 Fifth Ave, New York, NY; Art Placement...

This painting, like each of the paintings in the Purple Dawn series, is based on an earlier work that was lost or destroyed in the course of time. Feeling that I wanted to finish wha...

The blond figure, along with the floating peonies, combine to explore the dynamic between the eternal and the temporal, as well as our own relationship with nature. The gold leaf adds a three-dimensional softness as well as a glow upon which the female figure floats. Her skin is seductively painted; her teal dress falls off her shoulder; white peonies float by; the scene is set for a dreamy visual feast. The painting is framed in a gilt frame. Michael Van Zeyl Peonies in White Light oil and 12K gold leaf on linen wrapped panel 24h x 36w in 60.96h x 91.44w cm EDUCATION 1987-1990 American Academy of Art, Chicago, IL 1999-2000 American Academy of Art, Chicago, IL - Life Drawing & Oil Painting Palette & Chisel Academy, Chicago, IL - Painting & Life Drawing Art Students League, New York, NY - Painting EXHIBITIONS 2017 “Anne Harris...

ARTIST STATEMENT I'm currently working with figures and portraits and combine human forms with botanicals to explore our relationship with natural elements. Capturing the movement of the figure or an expression of a living soul presents endless possibilities and inspiration enabling me to blend with different themes. I've studied classical methods of oil painting with a focus on the 17th century Dutch Masters. The subjects I am drawn to are individuals with character, athletic figures and blooming floral arrangements with elegance and ethereal beauty. The reference for my work comes from my direct observation of natural day light in my north light studio illuminating and blanketing the form of my subjects. I am fascinated and challenged by the process of transforming a flat, blank canvas into the illusion of dimensional form, atmosphere and mood. That process is usually well thought out but sometimes painted direct and use intuition to complete my idea. Both of these methods present challenges but each way fills the void of the other and opens up the possibility of new visual ideas to meet my objective. BIOGRAPHY For Michael Van Zeyl, portraiture is much more than a one-sided translation of the artist’s point of view taking form in a subject. It’s an engaging visual dialogue that renders a soul in light, shadow and pigment, continuing the conversation for future generations to appreciate. While subtle observation and technical skill are only part of Michael’s gift, his experience has honed his craft to the highest standard. His talents were apparent by age seven and he spent subsequent decades mastering a wide range of painting techniques. In particular, 17th century Dutch and 19th century impressionist styles have resonated with him and surfaced in his own works. His formal training began at the American Academy of Art in Chicago, continuing on at Chicago’s Historic Palette & Chisel Academy and the Art Students League in New York, where he studied with the most accomplished artists who also paint directly from life under natural light. Michael is currently a faculty and board member at the Palette & Chisel and has been the club’s most popular instructor for several years. Michael’s work is already appreciated in many public and private collections, such as the United States District Court, University of Chicago, DePaul University School of Law, Chicago Theological Seminary and American Hotel Register. He has received awards from the Portrait Society of America, The Artists Guild, the Oil Painters of America and the 2014 recipient of the Dorothy Driehaus Mellin Fellowship for Midwestern Artists. EDUCATION 1987-1990 American Academy of Art, Chicago, IL 1999-2000 American Academy of Art, Chicago, IL - Life Drawing & Oil Painting Palette & Chisel Academy, Chicago, IL - Painting & Life Drawing Art Students League, New York, NY - Painting EXHIBITIONS 2017 “Anne Harris...

Painting Description: This painting began as an adaptation of a sketch I made after figures in an old Irish manuscript- probably The Book of Kells or Li...